L.A. Art Diary

The Marciano Art Foundation has been the biggest pleasant surprise of 2017. As I’ve mentioned on the blog before, the new museum, funded by the GUESS Jeans fortune, delivers big-time with site-specific special projects from Jim Shaw and Ryan Trecartin and Lizzie Fitch. Those installations are so enthusiasm-inspiring it’s almost easy to overlook the “quieter” collection itself, on display mainly in the third floor galleries.

That would be a mistake, because the collection—the bones of the Marciano Art Foundation—has been curated in such a satisfying , thoughtfully-paced manner that the viewing experience stays engaging throughout. That’s a rarity, unfortunately, in so many hangs of private collections, which tend not to have a specific focus beyond showing off their holdings. Here, though, there are narrative interests evident in the Marcianos’ collection, perhaps highlighted by the apocalyptic nature of the Jim Shaw show and the site-specific “behind-the-scenes” vibe of the Trecartin/Fitch collaboration—namely an interest in social tension or upheaval and works that reveal their process, respectively.